Ensor

La Sortie makes its debut at the KMSKA

The artist Ronald De Preter (b. 1954) donates his work La Sortie d’Ensor de Belgique to the KMSKA. In 1988–89, De Preter created this satirical reinterpretation of Ensor’s The Entry of Christ into Brussels in 1889 as a pointed response to the loss of this iconic work for Belgium, after it was sold to the J. Paul Getty Museum in Los Angeles.

By accepting the donation of Ronald De Preter’s La Sortie d’Ensor de Belgique, the KMSKA aims to ensure that James Ensor’s The Entry of Christ into Brussels in 1889 continues to resonate within its collection. The painting not only demonstrates how effortlessly Ensor’s work can be brought into contemporary relevance, but also underscores the museum’s ongoing responsibility, together with the relevant authorities, to preserve and manage important cultural heritage.

Cathérine Verleysen, 19th-century researcher/curator, KMSKA

The Entry of Christ into Brussels in 1889 (1888–1889) - James Ensor (Ostend 1860 - Ostend 1949), J. Paul Getty Museum, Los Angeles

La sortie d’Ensor de Belgique (1988-1989) - Ronald De Preter (Lier, 1954), KMSKA, Flemish Community Collection, inv. no. 4384, Gift of the artist

Timeline

THE ENTRY OF CHRIST INTO BRUSSELS IN 1889
LA SORTIE D’ENSOR DE BELGIQUE

1887

ANNUAL SALON LES XX

At the annual exhibition of the avant-garde artists’ group Les XX, Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte is on display. Ensor’s friends are very enthusiastic about it and consider the work the pinnacle of the new painting style, pointillism. Ensor, however, is not a fan and finds the dot technique dull, cold, and uninviting. In response, he creates his own energetic painting, The Entry of Christ into Brussels in 1889, deliberately making it much larger than Seurat’s work. As a counter to pointillism, Ensor uses palette knives, spatulas, and the ends of his brush to apply blocks of color.

1888

STUDIO ENSOR

James Ensor paints The Entry in his small attic studio in Ostend. He has attached the enormous canvas, measuring 2.52 by 4.30 meters, to the wall with nails. Part of it lies on the floor, with the sides rolled up. The 28-year-old Ensor often paints on his knees. According to some, this explains the unusual perspective—but perhaps he does it intentionally, aiming to completely turn traditional painting on its head.

1889

REJECTED BY LES XX?

Ensor wants to exhibit his work, but Les XX refuses. Or at least, that’s the story Ensor likes to tell the world. In reality, the painting simply isn’t finished yet.

1929

PALACE OF FINE ARTS, BRUSSELS

After 40 years, the work finally leaves the studio. In 1929, The Entry is exhibited in the brand-new Palace of Fine Arts in Brussels. It takes its place among 376 other works by Ensor. These are glorious days for Ensor, as he is also awarded the title of baron.

1949

GUSTAVE NELLENS

After Ensor’s death in 1949, his niece Alexandra Daveluy manages the settlement of his estate. She sells The Entry to Gustave Nellens, the owner of the casino in Knokke. In the 1950s and 1960s, the casino becomes an important cultural hotspot, hosting music performances of international renown and major annual summer exhibitions.

1954

LOUIS FRANCK JR AND KMSKA

In 1954, Nellens sells the painting to Louis Franck Jr., the son of François Franck, founder of Kunst van Heden. This exhibition association ensures that many of Ensor’s works enter the KMSKA collection. During this period, the museum also receives The Entry on long-term loan. Meanwhile, the large painting gains international fame, traveling extensively. It is shown at the Venice Biennale, tours twice through top American museums, and is also exhibited in Zurich and Paris.

1983

J.PAUL GETTY MUSEUM

In 1983, the painting moves again to Zurich, presumably for condition assessment and potential restoration. In Belgium, concerns grow that the painting might be put up for sale—and indeed it is. The asking price drops from $10 million to $8.5 million (around 320 million Belgian francs). However, Belgium is unable or unwilling to pay this amount, especially during the 1987 economic crisis. On October 12, 1987, the J. Paul Getty Museum announces that it has purchased the painting, describing the masterpiece as “the precursor of 20th-century Expressionism.”

1988

RONALD DE PRETER

In 1988, Ronald De Preter creates the satirical work La Sortie d’Ensor de Belgique. This is a response to the departure of James Ensor’s masterpiece to the Getty Museum in Los Angeles. He replaces Ensor’s masks with portraits of Belgian politicians, holding them responsible for the loss of this important artwork. The result offers a critical perspective on the political situation of the time.

2024

KMSKA

In 2024, Ronald De Preter donates his work to the KMSKA. This marks a symbolic return: after 40 years, The Entry comes home once again, albeit in a different form. In 2024, it takes its place in the museum.

Who is Ronald De Preter?

Ronald De Preter (b. Lier, 1954) studied drawing at the Royal Academy of Fine Arts Antwerp – DKO in the late 1970s and initially established himself primarily as a watercolorist. Later, he expanded his techniques to include oil painting and etching. He explores themes such as transience, vulnerability, and the fragility of the body, often depicted through nude figures or studies of slaughtered animals.

De Preter works primarily in series, which allows him to further explore the possibilities of painting and etching techniques. Natural light also plays an important role in shaping and accentuating his imagery. De Preter’s oeuvre reflects his inner world and the fleeting beauty of life.

Ronald De Preter: “On my first visit to the KMSKA, at the age of seventeen, James Ensor’s work was an immediate revelation for me. Above all, The Entry of Christ into Brussels captivated me and never let go. In the years that followed, I spent countless hours in the Ensor room, continually fascinated by this masterpiece.

When The Entry of Christ into Brussels later left the museum, it left a great void. The loss of this iconic work was a real shock for me. As a protest and out of dissatisfaction, I immediately began working on La Sortie d’Ensor de Belgique, a pastiche. This work is my personal dialogue with Ensor, a story that began half a century ago in this very museum. On the occasion of the Ensor Year, I am offering this work as a donation.”

Do you recognize all the characters?

The answers are shown below the image.

1. Louis Tobback 2. Patrick Dewael 3. Guy Verhofstadt 4. Annemie Neyts 5. Wilfried Martens 6. Willy De Clercq 7. Miet Smet 8. Frank Swaelen 9. Leo Tindemans 10. Jean Gol 11. Jean-Luc Dehaene 12. Hugo Schiltz 13. Jaak Gabriëls 14. Willy Claes 15. Jan Lenssens 16. Koning Boudewijn 17. Koningin Fabiola 18. Ludo Dierckx 19. Guy Spitaels 20. Paul Akkermans 21. Gaston Geens 22. Mieke Vogels 23. Jos Geysels 24. François-Xavier de Donnea 25. Paula D'hondt 26. Magda Aelvoet 27. Daniël Coens 28. Marc Eyskens 29. Wivina Demeester 30. Hans De Belder 31. Frans Grootjans 32. Rika De Backer 33. ‘Zelfportret' 34. Theo Kelchtermans 35. Eric Van Rompuy 36. Rika Steyaert 37. Willy Cuypers 38. Jean-Pierre Van Rossem 39. Herman De Croo 40. Jacky Buchmann 41. Bob Cools 42. Jan Hoet 43. Jan Decorte 44. Antoinette Spaak 45. Guy Coëme 46. Norbert De Batselier 47. Paul Vanden Boeynants 48. Melchior Wathelet 49. André Cools 50. Alain Van der Biest 51. Henri Simonet 52. Etienne Vermeersch 53. Charles-Ferdinand Nothomb 54. Joseph Michel 55. Jos Dupré 56. Philippe Moureaux 57. Freddy Willockx 58. Herman Van Rompuy 59. Ward Beysen 60. José Happart 61. James Ensor